A Companion to the Etruscans E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Serie: Blackwell Companions to the Ancient World
• Sprache: Englisch

Seitenzahl: 1357

Veröffentlichungsjahr: 2015

Beschreibung

This new collection presents a rich selection of innovative scholarship on the Etruscans, a vibrant, independent people whose distinct civilization flourished in central Italy for most of the first millennium BCE and whose artistic, social and cultural traditions helped shape the ancient Mediterranean, European, and Classical worlds. * Includes contributions from an international cast of both established and emerging scholars * Offers fresh perspectives on Etruscan art and culture, including analysis of the most up-to-date research and archaeological discoveries * Reassesses and evaluates traditional topics like architecture, wall painting, ceramics, and sculpture as well as new ones such as textile archaeology, while also addressing themes that have yet to be thoroughly investigated in the scholarship, such as the obesus etruscus, the function and use of jewelry at different life stages, Greek and Roman topoi about the Etruscans, the Etruscans' reception of ponderation, and more * Counters the claim that the Etruscans were culturally inferior to the Greeks and Romans by emphasizing fields where the Etruscans were either technological or artistic pioneers and by reframing similarities in style and iconography as examples of Etruscan agency and reception rather than as a deficit of local creativity

Leseprobe

Table of Contents

Cover

Title Page

List of Illustrations

Maps

Figures

List of Tables

Notes on Contributors

Acknowledgments

Map of Etruria

Introduction

REFERENCES

PART I: History

CHAPTER 1: Beginnings

1. Introduction

2. Origins and Dating

3. The Transition from Prehistory

4. The Villanovan Period

5. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 2: Materializing the Etruscans

1. Introduction

2. The Orientalizing Period (700–575)

3. The Archaic Period (575–480)

4. The Classical Period (480–323)

5. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 3: The Romanization of Etruria

1. Introduction

2. Roman Expansion

3. Roman Infrastructures: Roads and Centuriation

4. Roman Colonies

5. Political Changes

6. Romanization as Latinization

7. The Hellenistic Gods

8. Religion

9. Funerary Iconography

10. The Revival of the Etruscans

11. Conclusion

REFERENCES

GUIDE TO FURTHER READING

PART II: Geography, Urbanization, and Space

CHAPTER 4: Etruscan Italy

1. Introduction

2. The Structural Landscape

3. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 5: City and Countryside

1. Introduction

2. Countryside

3. The Rural Landscapes of Urbanism

4. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 6: The Etruscans and the Mediterranean

1. Introduction

2. Sources of Evidence

3. The Etruscans in the Mediterranean: A Chronological Survey

4. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 7: Urbanization and Foundation Rites

1. Introduction

2. From the Classicistic Prejudice to the Etruscan Non-

polis

3. Urban Networks and Diversity

4. Urban Beginnings and Ritual Foundations

5. At the Heart and on the Margins of Settlements

6. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 8: Poggio Civitate

1. Introduction

2. Poggio Civitate during the Orientalizing Period (c.675–650 – c.600)

3. Poggio Civitate in the Archaic Period (c.600–550/530)

4. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 9: Southern and Inner Etruria

1. Introduction

2. Orvieto/Volsinii/Velzna

3. Tarquinia/Tarchna

4. Cerveteri/Caere/Cisra(Greek Agylla)

5. Vulci

6. Veio/Veii

7. Sovana

8. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 10: Etruscan Domestic Architecture, Hydraulic Engineering, and Water Management Technologies

1. Introduction

2. Domestic Architecture

3. Hydraulics and Water Management

4. The Manufacturing of Architectural Elements

5. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 11: Rock Tombs and the World of the Etruscan

Necropoleis

1. Introduction

2. The Rock Tombs of Southern Etruria

3. Case Study: The Rock Tombs at Pian di Mola in Tuscania

4. Hellenistic Period Barrel-Vaulted Tombs in Etruria

5. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 12: Communicating with Gods

1. Introduction: Ritual, Religion, and Space

2. Sacred Space: Sanctuary, Altar, and Temple

3. Sacred Space and the Topography of Ritual

4. Conclusion

REFERENCES

GUIDE TO FURTHER READING

PART III: Evidence in Context

CHAPTER 13: Etruscan Skeletal Biologyand Etruscan Origins

1. Introduction

2. A Brief History of Skeletal Studies in Etruria

3. Skeletal Studies at Tarquinia: 1981–2013

4. Interpretive Problems: Biological Evidence for Genetic Continuity or Cultural Change

5. DNA Studies and the Origins of the Etruscans

6. Conclusions

Acknowledgments

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 14: Language, Alphabet, and Linguistic Affiliation

1. The Etruscan Language

2. The Origins of the Alphabet in Italy

3. Etruscan Alphabets and Orthography

4. Etruscan Texts

5. Language

6. Linguistic Affiliation

7. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 15: Bucchero in Context

1. Introduction

2. Context of Production

3. Geographical and Economic Contexts

4. Context of Use

5. Context of Recovery

6. Context of Display

7. Conclusions: Context of Study

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 16: Etruscan Textiles in Context

1. Introduction

2. The Material Remains of Textiles and Textile Implements in Etruria

3. Case Study: Poggio Civitate and Poggio Aguzzo (Murlo)

4. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 17: Etruscan Wall Painting

1. Introduction

2. Chronology

3. Themes

4. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 18: Votives in their Larger Religious Context

1. Introduction

2. The Votive Offering

3. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 19: Etruscan Jewelry and Identity

1. Introduction

2. Evidence for Etruscan Jewelry: Objects and Images

3. The Bulla: A Case Study for Life-Stage Use

4. Beyond the Bulla: Children’s Jewelry

5. Adult Women

6. Male Etruscan Jewelry

7. The Materials of Jewelry

8. How Did They Do That?

9. The Afterlife of Etruscan Jewelry

10. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 20: Luxuria prolapsa est

1. Introduction

2. Etruscan Wealth

3. Etruscan Dominance

4. Etruscan Opulence and Decadence

5. Etruscan Wealth at War

6. Lars Porsenna and Conspicuous Consumption

7. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 21: Tanaquil

1. Introduction

2. Tanaquil, the Etruscan Queen

3. Tanaquil and Ceremonial Textiles

4. Elite Etruscan Women and Ceremonial Textiles

5. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 22: The

Obesus Etruscus

1. Introduction

2. The Literary Trope

3. Perpetrating the Slur: The Link to Artistic Representations

4. Conclusion

REFERENCES

GUIDE TO FURTHER READING

PART IV: Art, Society, and Culture

CHAPTER 23: The Etruscans, Greek Art, and the Near East

1. Introduction

2. Sources and Chronology

3. “Orientalizing” Etruria

4. Etruscans, Greeks, and Phoenicians

5. Developments in Funerary Practices

6. Foreign Artisans and Artistic Technologies

7. Banqueting and Its Visual and Material Culture

8. Conclusion

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 24: Etruscan Artists

1. Introduction

2. What is Art?

3. Who are the Artists? Greeks or Etruscans?

4. Conclusion

Abbreviations

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 25: Etruscan Bodies and Greek Ponderation

1. Introduction

2. Ponderation

3. The Reception of Ponderation in Etruria

4. Ponderation in the François Tomb

5. Ponderation in Etruscan Bidimensional Art from the Late Classical Period

6. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 26: Myth in Etruria

1. Introduction

2. The Villanovan and Orientalizing Periods

3. The Archaic Period

4. The Classical Period

5. The Late Fourth Century and the Hellenistic Period

6. Conclusion

Abbreviations

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 27: The “Taste” for Violence in Etruscan Art

1. Introduction

2. The Contexts of Violent Imagery in Etruria

3. Case Study: Violent Imagery on Engraved Bronze Mirrors

4. Violence and Gender in Etruria

5. Conclusions

REFERENCES

GUIDE TO FURTHER READING

PART V: The Etruscan Legacy and Contemporary Issues

CHAPTER 28: Annius of Viterbo and the Beginning of Etruscan Studies

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 29: Tyrrhenian Sirens

1. Introduction

2. Enhanced Etruscan Bronzes

3. Etruscan Terracotta Forgeries

4. Conclusions

REFERENCES

GUIDE TO FURTHER READING

CHAPTER 30: Looting and the Antiquities Trade

1. Losing Context: An Introduction to Looting in Central Italy

2. The Antiquities Market

3. National and International Approaches to Protecting Central Italian Antiquities

4. Conclusion

REFERENCES

GUIDE TO FURTHER READING

PART VI: Appendix

Appendix

REFERENCES

Index

End User License Agreement

List of Tables

Chapter 13

Table 13.1 Sex of Adults from Tombs at Tarquinia (revised from Becker 2005a).

Table 13.2 Numbers of males and females in this sample arranged by periods defined by Cataldi (1993; skeletal evaluations from Becker 2002b).

Chapter 14

Table 14.1 Regional Spelling of the Sibilants (/s/ and /

ʃ

/) and the Velar Stop (/k/).

Table 14.2 Etruscan Alphabets.

Table 14.3 Noun and Adjective Suffixes.

Table 14.4 Case Forms of Nouns and Adjectives.

Table 14.5 Etruscan Plurals.

Table 14.6 Etruscan Pronouns.

Table 14.7 Etruscan Consonant System.

Table 14.8 Case Forms of Personal and Family Names.

List of Illustrations

Chapter 01

Figure 1.1 Villanovan crested helmet, c.800–750

BCE

. Bronze. London, The British Museum, Inv. GR 1968.6-27.1.

Chapter 02

Figure 2.1 Kantharos with impressed fan designs, c.650–600

BCE

.

Bucchero sottile

. New York, The Metropolitan Museum of Art, Rogers Fund, 1921 (21.88.146).

Figure 2.2 Writing tablet incised with the letters of the Etruscan alphabet, c.675–650

BCE

. Ivory. From the

Circolo degli Avori

in the Banditella necropolis at Marsiliana d’Albegna. Florence, Museo Archeologico Nazionale, inv. 93480.

Figure 2.3 Inscribed cippus (the so-called

cippus perusinus

), second century

BCE

. Travertine. From Perugia. Perugia, Museo Archeologico Nazionale dell’Umbria, inv. 366.

Chapter 03

Figure 3.1 Map of Roman colonies and roads in Etruria.

Figure 3.2 Map showing centuriation plots around the Roman colonies of Cosa and Heba, third – second century

BCE

.

Figure 3.3 Charun and Vanth, from the entrance wall of the Tomb of the Anina Family, third century

BCE

. Fresco. From Tarquinia.

Chapter 04

Figure 4.1 Satellite image of central Italy in winter (altitudinal differences visible by presence of snow on peaks).

Chapter 05

Figure 5.1 Reconstruction of an Etruscan farm at Podere Tartuchino, Phase 2, late sixth–fifth century

BCE

.

Chapter 06

Figure 6.1 Map of the Mediterranean.

Figure 6.2 Plan of the underwater excavation of the wreck of Cap d’Antibes, mid-sixth century

BCE

.

Figure 6.3 Cippus inscribed in Greek and dedicated to Aeginetan Apollo, end of the sixth century

BCE

. From Gravisca. Tarquinia, Museo Nazionale Etrusco.

Figure 6.4 Tesserae hospitalis with the name of a Carthaginian inscribed in Etruscan (

Puinel Karthazie

), mid-sixth century

BCE

. Ivory. From a tomb in Carthage.

Chapter 07

Figure 7.1 Map of Southern Etruria.

Figure 7.2 Plan of Tarquinia.

Figure 7.3 Map of Veii.

Figure 7.4 Engraved mirror with Pava Tarchies inspecting a liver, early third century

BCE

. Bronze. From Tuscania. Florence, Museo Archeologico Nazionale, Inv. 77759.

Figure 7.5 Reconstruction of the Civita complex, eighth century

BCE

, and the discovery of the seventh century

BCE

deposit of bronze votives. From the Pian di Civita, Tarquinia.

Chapter 08

Figure 8.1 Digital reconstruction of the three Orientalizing (mid-seventh century

BCE

) structures at Poggio Civitate by Evander Batson.

Figure 8.2 Digital reconstruction of the Archaic period (first half of the sixth century

BCE

) building at Poggio Civitate by Evander Batson.

Figure 8.3 Seated Male Acroterium, first half of the sixth century

BCE

. Terracotta. From the Archaic Building at Poggio Civitate. Antiquarium di Poggio Civitate, Inv. 111198.

Figure 8.4 Topographic map of Poggio Civitate (PC) and its surrounding communities by Taylor Oshan.

Chapter 09

Figure 9.1 Aerial view of the excavations at Campo della Fiera, Orvieto.

Chapter 10

Figure 10.1 Tomb of the Shields and Chairs, interior, early sixth century

BCE

. From Caere.

Figure 10.2 Wall from the eastern perimeter of the great pool, second – first century

BCE

. From the locality of Mezzomiglio, Chianciano Terme.

Chapter 11

Figure 11.1 Tumulus tomb, seventh century. From the Banditaccia necropolis, Caere.

Figure 11.2 Rock-cut cube tomb, sixth century. From the Casetta necropolis, Blera.

Figure 11.3 Reconstruction of the façade of the Hildebrand temple tomb at Sovana, first half of the third century

BCE

. Archaeological Museum of Sovana.

Figure 11.4 Rock-cut house tomb with portico, 575–550

BCE

. From the Pian di Mola necropolis, Tuscania.

Figure 11.5 Barrel vault from the so-called

Tanella di Pitagora

, third – second century

BCE

. Stone. From Cortona.

Figure 11.6 Barrel vault in the Tomb of the Medusa, third century

BCE

. Stone. From Arpi (near Foggia in Apulia).

Chapter 12

Figure 12.1 The Lake of the Idols in the sanctuary at the headwaters of the Arno River on Monte Falterona.

Figure 12.2 Funerary altar attached to the

Tumulo del Sodo

II, seventh century

BCE

. From Cortona.

Figure 12.3 Monumental altar. From Pieve Socana.

Figure 12.4 Reconstruction of the facade of a Tuscan/Italic temple. Rendering by J. Galloway.

Figure 12.5 “Fissure Deposit,” fifth – fourth century

BCE

. From Poggio Colla.

Chapter 14

Figure 14.1 Funerary inscription (

mi aveles sipanas

) on the architrave of a tomb, c.500

BCE

.

Figure 14.2 Tablet I with inscription in Etruscan, c.500

BCE

. Gold.

Figure 14.3 The Cortona Tablet (

Tabula Cortonensis

), c.250–200

BCE

. Bronze.

Chapter 15

Figure 15.1 Jug in the shape of a siren, c. 550–500

BCE

.

Bucchero pesante

. Perhaps from Chiusi. New York, The Metropolitan Museum of Art, Rogers Fund, 1918 (18.145.25).

Figure 15.2 Map of bucchero finds in the Mediterranean basin. Drawing: Barker and Rasmussen 1998, 2000, fig. 49, p. 138.

Chapter 16

Figure 16.1 Textile tools from Poggio Civitate, Murlo: a) spindle whorl; b) loom weight; c) spool.

Figure 16.2 Textiles from Poggio Aguzzo, Murlo: a) tablet weave on an iron spear counterweight; b) Scanning Electron Microscope image of the negative casts of wool fibers of textile from Tomb 1; c) tabby textile preserved on the iron knife from Tomb 4 under high magnification with twist of the yarn and fibers clearly visible; d) histogram of wool quality measurements of textile from Tomb 1.

Chapter 17

Figure 17.1 Tomb of Augurs, back wall, c.530–520

BCE

. From Tarquinia. Fresco.

Figure 17.2 Tomb of Hunting and Fishing, left wall, c.530

BCE

. Fresco. From Tarquinia.

Figure 17.3 Bruschi Tomb, c.300

BCE

, drawing by Gregorio Mariani, 1864. Fresco. From Tarquinia.

Figure 17.4 Tomb of the Meeting, c.250

BCE

. Fresco. From Tarquinia.

Chapter 18

Figure 18.1 Fragments of votive heads, fourth – second centuries

BCE

. Terracotta. From the Manganello Sanctuary, Caere.

Figure 18.2 Terracotta relief with Artumes sacrificing a ram, fourth – third century

BCE

. Terracotta. From the Vignaccia sanctuary, Caere. Museum of Fine Arts, Boston, inv. no. 88.364.

Figure 18.3 Figurines still in their original stone base, fourth – third century

BCE

. Bronze. From the Campo della Fiera, Orvieto.

Chapter 19

Figure 19.1 Banqueters and servants in the pediment of the Tomb of Hunting and Fishing, c.530–520

BCE

. Fresco. From Tarquinia.

Figure 19.2 Sarcophagus of Larthia Seianti, detail of upper body and head, c.180–170

BCE

. Painted terracotta. From the Tomb of the Larcna Family, La Martinella, near Chiusi. Florence, Museo Archeologico Nazionale.

Figure 19.3 Leech-shaped fibulae with stamped decoration (animal friezes), c.630

BCE

. Gold. From the Tomb of the Lictor, Vetulonia. Florence, Museo Archeologico Nazionale.

Chapter 20

Figure 20.1 Reconstruction of the tomb of Lars Porsenna, 1791.

Chapter 21

Figure 21.1 Bell-shaped

tintinnabulum

with repoussé decoration showing the processing of wool, late seventh – early sixth century

BCE

. Bronze. From the Arsenale Militare necropolis, Tomb 5 (

Tomba degli Ori

), near Bologna. Bologna, Museo Civico Archeologico.

Figure 21.2 Weaving scenes on carved throne, c.700–650

BCE

. Wood and bronze. From the Lippi necropolis, Tomb 89, Verucchio. Bologna, Museo Civico Archeologico.

Figure 21.3 Cippus base with relief depicting an assembly of women examining pieces of cloth, early fifth

BCE

.

Pietra fetida

. From Chiusi. Copenhagen, Ny Carlsberg Glyptotek, Inv. HIN 81.

Chapter 22

Figure 22.1 Sarcophagus and lid with a reclining effigy of a clean-shaven man, third century

BCE

. Nenfro. From the Alethna family tomb, Civita Musarna. Philadelphia, University of Pennsylvania Museum, inv. MS 3488A.

Figure 22.2 Head of an older woman, third century

BCE

. Terracotta. Philadelphia, University of Pennsylvania Museum, inv. MS 5690.

Figure 22.3 Sarcophagus lid with the reclining effigy of a young man, third century

BCE

. Terracotta. From Tuscania. Copenhagen, Ny Carlsberg Glyptotek, Inv. HIN 78.

Figure 22.4 Urn and lid with reclining effigy of the priest Arnth Remzna, late third century

BCE

. Alabaster. Said to be from the necropolis of Colle, Chiusi. Philadelphia, University of Pennsylvania Museum, inv. MS 2458A.

Figure 22.5 Sarcophagus and lid with reclining effigy of an overweight man, first half of the second century

BCE

. Nenfro. Copenhagen, Ny Carlsberg Glyptotek, Inv. HIN 429.

Chapter 23

Figure 23.1 Silver relief bowl, Phoenician (or Cypro-Phoenician) in style, c.725–650

BCE

.

Figure 23.2 Odysseus and his companions blinding the Cyclops Polyphemos on the Aristonothos krater (Side B), c.670–650

BCE

.

Figure 23.3 The banquet frieze plaque from Poggio Civitate (Murlo), c.575

BCE

. Rendering by Courtney McKenna. Antiquarium di Poggio Civitate, Inv. 112591.

Chapter 24

Figure 24.1 Antefix in the form of a Gorgon’s head, 510–500

BCE

. Painted Terracotta.

Figure 24.2 Black-figure hydria by the Micali Painter, 515–500

BCE

.

Figure 24.3 Temple pediment with relief depicting the Seven against Thebes, second quarter of the second century

BCE

. Terracotta.

Figure 24.4 Chariot race on the left wall of the Tomb of the Olympic Games, c.510

BCE

. Fresco. From Tarquinia.

Figure 24.5 Statuette of a woman, c.350

BCE

. Bronze.

Chapter 25

Figure 25.1 A Trojan prisoner and Caile Vipinas on the back wall of the François Tomb, 340–310

BCE

. Fresco. From Vulci. Tempera painting by Carlo Ruspi. Drawing: Andreae et al. 2004, fig. 8.

Figure 25.2 Engraved mirror with Menle about to kill his wife Elinei after the fall of Troy, fourth century

BCE

. Bronze. From Caere. London, British Museum, inv. no. 627. Drawing: Gerhard,

ES

4.398.

Figure 25.3 Engraved mirror with Hercle presenting Epiur to Tinia in the presence of Turan and Thalna, c.325. Bronze. From Vulci. Paris, Cabinet des Médailles, inv. no. 1287. Drawing: Gerhard,

ES

2.181.

Figure 25.4 Engraved mirror with Atunis and Turan, fourth century

BCE

. Bronze. From Bomarzo. Northampton, Castle Ashby. Drawing: Gerhard,

ES

1.112.

Figure 25.5 Engraved mirror with Hercle presenting Epiur to Menrva in the presence of Turan and Munthu, late fourth century

BCE

. Bronze. Berlin, Antikenmuseum, Inv. Fr. 136. Drawing: Gerhard,

ES

2.165.

Chapter 26

Figure 26.1 Olpe with relief friezes depicting Metaia, a man in a cauldron, youths holding a cloth, boxers, and Taitale, c.630

BCE

. Bucchero. From the Tumulus of San Paolo, Tomb 2, Caere. Rome, Museo Nazionale Etrusco di Villa Giulia, inv. no. 2.

Figure 26.2

Antepagmentum

(relief panel) depicting a scene from the Seven Against Thebes, 470–460

BCE

. Painted terracotta. From the rear pediment of Temple A, Pyrgi. Rome, Museo Nazionale Etrusco di Villa Giulia.

Figure 26.3 Engraved mirror with Athrpa, Turan, Atunis, Meliacr and Atlenta, late fourth century

BCE

. Bronze. From Perugia. Berlin, Antikenmuseum, Inv. Fr. 146.

Chapter 27

Figure 27.1 Engraved mirror with Menrva and Akrathe, late fourth century

BCE

. Bronze. Drawing:

Figure 27.2 Engraved bronze mirror with Achle and Pentasila, early fourth century

BCE

. From Vulci. Berlin, Antikensammlung.

Figure 27.3 Engraved bronze mirror with Perseus and Medusa, late fourth century

BCE

.

Chapter 28

Figure 28.1 Sculpted animals on the church of San Silvestro (now Il Gesù), ninth century CE. From Viterbo.

Figure 28.2 Ancient head of Jupiter on the medieval church of Santa Maria Nova. From Viterbo.

Figure 28.3 The “Desiderius Decree” forged by Annius of Viterbo. Viterbo, Museo Civico.

Chapter 29

Figure 29.1 The bronze lid of the so-called Cista Pasinati, with engravings added by Italian forger, Francesco Martinetti, in 1863. London, The British Museum.

Figure 29.2 Engraved mirror (modern) with a gathering of the gods, late nineteenth or early twentieth century. Bronze. Probably produced in Italy. Philadelphia, University of Pennsylvania, inv. 52-35-3.

Figure 29.3 Terracotta cinerary urn in the form of a seated male figure, nineteenth century forgery. Chicago, Field Museum of Natural History.

Figure 29.4 Terracotta cinerary urn in the form of a seated female figure, nineteenth century forgery. Chicago, Field Museum of Natural History.

Chapter 30

Figure 30.1 Attic red-figure calyx krater by Euphronios with Hypnos and Thanatos carrying the body of Sarpedon off the battlefield, 520–510

BCE

. From Caere. Rome, Museo Nazionale Etrusco di Villa Giulia.

Figure 30.2 Volume of pre-Roman artifacts from central Italy consigned to auction at Bonhams, Christie’s, and Sotheby’s, 1970–2005.

Figure 30.3 Published provenance of pre-Roman artifacts from central Italy consigned to auction at Bonhams, Christie’s, and Sotheby’s, 1970–2005.

Figure 30.4 Impasto amphora with molded handles, seventh century

BCE

, sold in 2003 (Lot 185 Bonhams).

Guide

Cover

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BLACKWELL COMPANIONS TO THE ANCIENT WORLD

This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and the most important themes in ancient culture. Each volume comprises approximately twenty-five and forty concise essays written by individual scholars within their area of specialization. The essays are written in a clear, provocative, and lively manner, designed for an international audience of scholars, students, and general readers.

Ancient History

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A COMPANION TO THE ETRUSCANS

Edited by

Sinclair Bell and Alexandra A. Carpino

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Cover image: Detail of dancers from wall painting from Tomba del Triclinio, Tarquinia, 5th century BC. Photo akg-images / Mondadori Portfolio / Sergio Anelli

List of Illustrations

Maps

Map 1

Map of Etruria. Drawing: De Puma 2013: Map 1. © The Metropolitan Museum of Art.

Figures

Note

:

Figures 4.1

,

8.2

,

11.1

,

12.1

,

17.2

,

19.2

, and

24.4

are to be found in the plate section, facing page 236.

Figure 1.1

Villanovan crested helmet, c.800–750

BCE

. Bronze. London, The British Museum, Inv. GR 1968.6-27.1. Photo: © The Trustees of the British Museum.

Figure 2.1

Kantharos with impressed fan designs, c.650–600

BCE

.

Bucchero sottile

. New York, The Metropolitan Museum of Art, Rogers Fund, 1921 (21.88.146). Photo: © 2015. The Metropolitan Museum of Art/Art Resource/Scala, Florence.

Figure 2.2

Writing tablet incised with the letters of the Etruscan alphabet, c.675–650

BCE

. Ivory. From the

Circolo degli Avori

in the Banditella necropolis at Marsiliana d’Albegna. Florence, Museo Archeologico Nazionale, inv. 93480. Photo: © 2015. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.

Figure 2.3

Inscribed cippus (the so-called

cippus perusinus

), second century

BCE

. Travertine. From Perugia. Perugia, Museo Archeologico Nazionale dell’Umbria, inv. 366. Photo: S. Neil.

Figure 3.1

Map of Roman colonies and roads in Etruria. Drawing: Camporeale 1992: 103.

Figure 3.2

Map showing centuriation plots around the Roman colonies of Cosa and Heba, third – second century

BCE

. Drawing: Barker and Rasmussen 1998, 2000, fig. 105, p. 270. Reproduced with permission of John Wiley & Sons Ltd.

Figure 3.3

Charun and Vanth, from the entrance wall of the Tomb of the Anina Family, third century

BCE

. Fresco. From Tarquinia. Photo: © 2015. DeAgostini Picture Library/Scala, Florence.

Figure 4.1

Satellite image of central Italy in winter (altitudinal differences visible by presence of snow on peaks). Photo: Jacques Descloitres, MODIS Rapid Response Team, NASA/GSFC.

Figure 5.1

Reconstruction of an Etruscan farm at Podere Tartuchino, Phase 2, late sixth–fifth century

BCE

. Drawing: Perkins and Attolini 1992: fig. 22.

Figure 6.1

Map of the Mediterranean. Drawing: Camporeale 1992: 45.

Figure 6.2

Plan of the underwater excavation of the wreck of Cap d’Antibes, mid-sixth century

BCE

. Drawing: Camporeale 2001: 90 (top).

Figure 6.3

Cippus inscribed in Greek and dedicated to Aeginetan Apollo, end of the sixth century

BCE

. From Gravisca. Tarquinia, Museo Nazionale Etrusco. Photo: © 2015. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.

Figure 6.4

Tesserae hospitalis with the name of a Carthaginian inscribed in Etruscan (

Puinel Karthazie

), mid-sixth century

BCE

. Ivory. From a tomb in Carthage. Drawing: Maggiani 2006: fig. 2.1. Reproduced with permission of Edizioni Quasar di Severino Tognon Srl.

Figure 7.1

Map of Southern Etruria. Drawing: Riva 2010: fig. 1.

Figure 7.2

Plan of Tarquinia. Drawing: Riva 2010: fig. 2.

Figure 7.3

Map of Veii. Drawing: Riva 2010: fig. 4.

Figure 7.4

Engraved mirror with Pava Tarchies inspecting a liver, early third century

BCE

. Bronze. From Tuscania. Florence, Museo Archeologico Nazionale, Inv. 77759. Photo: Courtesy of the Soprintendenza per i Beni Archeologici della Toscana – Firenze.

Figure 7.5

Reconstruction of the Civita complex, eighth century

BCE

, and the discovery of the seventh century

BCE

deposit of bronze votives. From the Pian di Civita, Tarquinia. Drawing and Photo: Bagnasco Gianni 2010: fig. 3.

Figure 8.1

Digital reconstruction of the three Orientalizing (mid-seventh century

BCE

) structures at Poggio Civitate by Evander Batson. Drawing: Courtesy of the Poggio Civitate Archaeological Excavations.

Figure 8.2

Digital reconstruction of the Archaic period (first half of the sixth century

BCE

) building at Poggio Civitate by Evander Batson. Drawing: Courtesy of the Poggio Civitate Archaeological Excavations.

Figure 8.3

Seated Male Acroterium, first half of the sixth century

BCE

. Terracotta. From the Archaic Building at Poggio Civitate. Antiquarium di Poggio Civitate, Inv. 111198. Photo: Courtesy of the Poggio Civitate Archaeological Excavations.

Figure 8.4

Topographic map of Poggio Civitate (PC) and its surrounding communities by Taylor Oshan. Drawing: Courtesy of the Poggio Civitate Archaeological Excavations.

Figure 9.1

Aerial view of the excavations at Campo della Fiera, Orvieto. Photo: Courtesy of Simonetta Stopponi, University of Perugia.

Figure 10.1

Tomb of the Shields and Chairs, interior, early sixth century

BCE

. From Caere. Photo: The Art Archive/Gianni Dagli Orti.

Figure 10.2

Wall from the eastern perimeter of the great pool, second – first century

BCE

. From the locality of Mezzomiglio, Chianciano Terme. Photo: courtesy Noelle Soren.

Figure 11.1

Tumulus tomb, seventh century. From the Banditaccia necropolis, Caere. Photo: S. Steingräber.

Figure 11.2

Rock-cut cube tomb, sixth century. From the Casetta necropolis, Blera. Photo: S. Steingräber.

Figure 11.3

Reconstruction of the façade of the Hildebrand temple tomb at Sovana, first half of the third century

BCE

. Archaeological Museum of Sovana. Photo: S. Steingräber.

Figure 11.4

Rock-cut house tomb with portico, 575–550

BCE

. From the Pian di Mola necropolis, Tuscania. Photo: S. Steingräber.

Figure 11.5

Barrel vault from the so-called

Tanella di Pitagora

, third – second century

BCE

. Stone. From Cortona. Photo: S. Steingräber.

Figure 11.6

Barrel vault in the Tomb of the Medusa, third century

BCE

. Stone. From Arpi (near Foggia in Apulia). Photo: S. Steingräber.

Figure 12.1

The Lake of the Idols in the sanctuary at the headwaters of the Arno River on Monte Falterona. Photo: P.G. Warden.

Figure 12.2

Funerary altar attached to the

Tumulo del Sodo

II, seventh century

BCE

. From Cortona. Photo: P.G. Warden.

Figure 12.3

Monumental altar. From Pieve Socana. Photo: P.G. Warden.

Figure 12.4

Reconstruction of the facade of a Tuscan/Italic temple. Rendering by J. Galloway. Drawing: courtesy of Jess Galloway.

Figure 12.5

“Fissure Deposit,” fifth – fourth century

BCE

. From Poggio Colla. Photo: P. G. Warden.

Figure 14.1

Funerary inscription (

mi aveles sipanas

) on the architrave of a tomb, c.500

BCE

. From the necropolis of the Crocifisso del Tufo, Orvieto. Photo: R. Wallace.

Figure 14.2

Tablet I with inscription in Etruscan, c.500

BCE

. Gold. From Pyrgi. Rome, Museo Nazionale Etrusco di Villa Giulia, inv. no. Provv.PS.S.S1. Photo: Universal Images Group/Art Resource, NY.

Figure 14.3

The Cortona Tablet (

Tabula Cortonensis

), c.250–200

BCE

. Bronze. From Cortona. Cortona, Museo dell’Accademia Etrusca e della Città di Cortona. Photo: © Luciano Agostiniani.

Figure 15.1

Jug in the shape of a siren, c.550–500

BCE

.

Bucchero pesante

. Perhaps from Chiusi. New York, The Metropolitan Museum of Art, Rogers Fund, 1918 (18.145.25). Photo: © 2015. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence.

Figure 15.2

Map of bucchero finds in the Mediterranean basin. Drawing: Barker and Rasmussen 1998, 2000, fig. 49, p. 138. Reproduced with permission of John Wiley & Sons Ltd.

Figure 16.1

Textile tools from Poggio Civitate, Murlo: a) spindle whorl; b) loom weight; c) spool. Photo: Courtesy of the Poggio Civitate Archaeological Excavations.

Figure 16.2

Textiles from Poggio Aguzzo, Murlo: a) tablet weave on an iron spear counterweight; b) Scanning Electron Microscope image of the negative casts of wool fibers of textile from Tomb 1; c) tabby textile preserved on the iron knife from Tomb 4 under high magnification with twist of the yarn and fibers clearly visible; d) histogram of wool quality measurements of textile from Tomb 1. Photo: M. Gleba.

Figure 17.1

Tomb of Augurs, back wall, c.530–520

BCE

. From Tarquinia. Fresco. Photo: By permission of the Soprintendenza per i Beni Archeologici dell’Etruria Meridionale.

Figure 17.2

Tomb of Hunting and Fishing, left wall, c.530

BCE

. Fresco. From Tarquinia. Photo: By permission of the Soprintendenza per i Beni Archeologici dell’Etruria Meridionale.

Figure 17.3

Bruschi Tomb, c.300

BCE

, drawing by Gregorio Mariani, 1864. Fresco. From Tarquinia. Photo: By permission of the Soprintendenza per i Beni Archeologici dell’Etruria Meridionale.

Figure 17.4

Tomb of the Meeting, c.250

BCE

. Fresco. From Tarquinia. Photo: By permission of the Soprintendenza per i Beni Archeologici dell’Etruria Meridionale.

Figure 18.1

Fragments of votive heads, fourth – second centuries

BCE

. Terracotta. From the Manganello Sanctuary, Caere. Photo: By permission of V. Bellelli.

Figure 18.2

Terracotta relief with Artumes sacrificing a ram, fourth – third century

BCE

. Terracotta. From the Vignaccia sanctuary, Caere. Museum of Fine Arts, Boston, inv. no. 88.364. Photo: Photograph © [2015] Museum of Fine Arts, Boston.

Figure 18.3

Figurines still in their original stone base, fourth – third century

BCE

. Bronze. From the Campo della Fiera, Orvieto. Photo: Stopponi 2011/Courtesy of Simonetta Stopponi, University of Perugia.

Figure 19.1

Banqueters and servants in the pediment of the Tomb of Hunting and Fishing, c.530–520

BCE

. Fresco. From Tarquinia. Photo: SEF/Art Resource, NY.

Figure 19.2

Sarcophagus of Larthia Seianti, detail of upper body and head, c.180–170

BCE

. Painted terracotta. From the Tomb of the Larcna Family, La Martinella, near Chiusi. Florence, Museo Archeologico Nazionale. Photo: © 2015. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.

Figure 19.3

Leech-shaped fibulae with stamped decoration (animal friezes), c.630

BCE

. Gold. From the Tomb of the Lictor, Vetulonia. Florence, Museo Archeologico Nazionale. Photo: © 2015. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.

Figure 20.1

Reconstruction of the tomb of Lars Porsenna, 1791. Drawing: Fabrizi 1987: fig. 39.

Figure 21.1

Bell-shaped

tintinnabulum

with repoussé decoration showing the processing of wool, late seventh – early sixth century

BCE

. Bronze. From the Arsenale Militare necropolis, Tomb 5 (

Tomba degli Ori

), near Bologna. Bologna, Museo Civico Archeologico. Photo: Erich Lessing/Art Resource, NY.

Figure 21.2

Weaving scenes on carved throne, c.700–650

BCE

. Wood and bronze. From the Lippi necropolis, Tomb 89, Verucchio. Bologna, Museo Civico Archeologico. Photo: Gianni Dagli Orti/The Art Archive at Art Resource, NY.

Figure 21.3

Cippus base with relief depicting an assembly of women examining pieces of cloth, early fifth

BCE

.

Pietra fetida

. From Chiusi. Copenhagen, Ny Carlsberg Glyptotek, Inv. HIN 81. Photo: Courtesy of the Ny Carlsberg Glyptotek, Copenhagen.

Figure 22.1

Sarcophagus and lid with a reclining effigy of a clean-shaven man, third century

BCE

. Nenfro. From the Alethna family tomb, Civita Musarna. Philadelphia, University of Pennsylvania Museum, inv. MS 3488A. Photo: Courtesy of University of Pennsylvania Museum, image # 151655.

Figure 22.2

Head of an older woman, third century

BCE

. Terracotta. Philadelphia, University of Pennsylvania Museum, inv. MS 5690. Photo: Courtesy of University of Pennsylvania Museum, image # 96699.

Figure 22.3

Sarcophagus lid with the reclining effigy of a young man, third century

BCE

. Terracotta. From Tuscania. Copenhagen, Ny Carlsberg Glyptotek, Inv. HIN 78. Photo: by Ole Haupt/Courtesy of the Ny Carlsberg Glyptotek, Copenhagen.

Figure 22.4

Urn and lid with reclining effigy of the priest Arnth Remzna, late third century

BCE

. Alabaster. Said to be from the necropolis of Colle, Chiusi. Philadelphia, University of Pennsylvania Museum, inv. MS 2458A. Photo: Courtesy of University of Pennsylvania Museum, image # 195078.

Figure 22.5

Sarcophagus and lid with reclining effigy of an overweight man, first half of the second century

BCE

. Nenfro. Copenhagen, Ny Carlsberg Glyptotek, Inv. HIN 429. Photo: by Ole Haupt/Courtesy of the Ny Carlsberg Glyptotek, Copenhagen.

Figure 23.1

Silver relief bowl, Phoenician (or Cypro-Phoenician) in style, c.725–650

BCE

. From the Bernardini Tomb, Palestrina. Rome, Museo Nazionale Etrusco di Villa Giulia, Inv. 61543. Photo: The Art Archive/Museo di Villa Giulia Rome/Gianni Dagli Orti.

Figure 23.2

Odysseus and his companions blinding the Cyclops Polyphemos on the Aristonothos krater (Side B), c.670–650

BCE

. From Caere. Rome, Musei Capitolini, Inv. no. CA 172. Photo: by Leemage/UIG via Getty Images.

Figure 23.3

The banquet frieze plaque from Poggio Civitate (Murlo), c.575

BCE

. Rendering by Courtney McKenna. Antiquarium di Poggio Civitate, Inv. 112591. Drawing: Courtesy of the Poggio Civitate Archaeological Excavations.

Figure 24.1

Antefix in the form of a Gorgon’s head, 510–500

BCE

. Painted Terracotta. From the Portonaccio Sanctuary, Veii. Rome, Museo Nazionale Etrusco di Villa Giulia, inv. sc. 2499. Photo: © 2015. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.

Figure 24.2

Black-figure hydria by the Micali Painter, 515–500

BCE

. From Vulci. Florence, Museo Archeologico Nazionale. Photo: By permission of the Soprintendenza Archeologia della Toscana – Firenze.

Figure 24.3

Temple pediment with relief depicting the Seven against Thebes, second quarter of the second century

BCE

. Terracotta. From Talamone. Photo: © 2015. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.

Figure 24.4

Chariot race on the left wall of the Tomb of the Olympic Games, c.510

BCE

. Fresco. From Tarquinia. Photo: By permission of the Soprintendenza per i Beni Archeologici dell’Etruria Meridionale.

Figure 24.5

Statuette of a woman, c.350

BCE

. Bronze. From the sanctuary of Diana Nemorensis, Nemi. Paris, Musée du Louvre, inv. no. Br. 231. Photo: © 2015. White Images/Scala, Florence.

Figure 25.1

A Trojan prisoner and Caile Vipinas on the back wall of the François Tomb, 340–310

BCE

. Fresco. From Vulci. Tempera painting by Carlo Ruspi. Drawing: Andreae et al. 2004, fig. 8.

Figure 25.2

Engraved mirror with Menle about to kill his wife Elinei after the fall of Troy, fourth century

BCE

. Bronze. From Caere. London, British Museum, inv. no. 627. Drawing: Gerhard,

ES

4.398.

Figure 25.3

Engraved mirror with Hercle presenting Epiur to Tinia in the presence of Turan and Thalna, c.325. Bronze. From Vulci. Paris, Cabinet des Médailles, inv. no. 1287. Drawing: Gerhard,

ES

2.181.

Figure 25.4

Engraved mirror with Atunis and Turan, fourth century

BCE

. Bronze. From Bomarzo. Northampton, Castle Ashby. Drawing: Gerhard,

ES

1.112.

Figure 25.5

Engraved mirror with Hercle presenting Epiur to Menrva in the presence of Turan and Munthu, late fourth century

BCE

. Bronze. Berlin, Antikenmuseum, Inv. Fr. 136. Drawing: Gerhard,

ES

2.165.

Figure 26.1

Olpe with relief friezes depicting Metaia, a man in a cauldron, youths holding a cloth, boxers, and Taitale, c.630

BCE

. Bucchero. From the Tumulus of San Paolo, Tomb 2, Caere. Rome, Museo Nazionale Etrusco di Villa Giulia, inv. no. 2. Drawing: Rizzo and Martelli 1993: fig. 9. Courtesy of Maria Antonietta Rizzo.

Figure 26.2

Antepagmentum

(relief panel) depicting a scene from the Seven Against Thebes, 470–460

BCE

. Painted terracotta. From the rear pediment of Temple A, Pyrgi. Rome, Museo Nazionale Etrusco di Villa Giulia. Photo: Hirmer Fotoarchiv (Sprenger and Bartoloni 1983: fig. 179).

Figure 26.3

Engraved mirror with Athrpa, Turan, Atunis, Meliacr and Atlenta, late fourth century

BCE

. Bronze. From Perugia. Berlin, Antikenmuseum, Inv. Fr. 146. Drawing: Zimmer 1987: fig. 19. © bpk, Berlin/Antikensammlung, SMB.

Figure 27.1

Engraved mirror with Menrva and Akrathe, late fourth century

BCE

. Bronze. Drawing: Frascarelli 1995: fig. 3a.

Figure 27.2

Engraved bronze mirror with Achle and Pentasila, early fourth century

BCE

. From Vulci. Berlin, Antikensammlung. Photo: © Photo Scala, Florence/bpk, Bildagentur für Kunst, Kultur und Geschichte, Berlin.

Figure 27.3

Engraved bronze mirror with Perseus and Medusa, late fourth century

BCE

. Photo: By permission of R.D. De Puma.

Figure 28.1

Sculpted animals on the church of San Silvestro (now Il Gesù), ninth century CE. From Viterbo. Photo: I. Rowland.

Figure 28.2

Ancient head of Jupiter on the medieval church of Santa Maria Nova. From Viterbo. Photo: I. Rowland.

Figure 28.3

The “Desiderius Decree” forged by Annius of Viterbo. Viterbo, Museo Civico. Photo: I. Rowland.

Figure 29.1

The bronze lid of the so-called Cista Pasinati, with engravings added by Italian forger, Francesco Martinetti, in 1863. London, The British Museum. Drawing: Brunn 1864: pl. VII (top).

Figure 29.2

Engraved mirror (modern) with a gathering of the gods, late nineteenth or early twentieth century. Bronze. Probably produced in Italy. Philadelphia, University of Pennsylvania, inv. 52-35-3. Drawing: De Puma 2005: fig. 37a.

Figure 29.3

Terracotta cinerary urn in the form of a seated male figure, nineteenth century forgery. Chicago, Field Museum of Natural History. Photo: R. D. De Puma.

Figure 29.4

Terracotta cinerary urn in the form of a seated female figure, nineteenth century forgery. Chicago, Field Museum of Natural History. Photo: R. D. De Puma.

Figure 30.1

Attic red-figure calyx krater by Euphronios with Hypnos and Thanatos carrying the body of Sarpedon off the battlefield, 520–510

BCE

. From Caere. Rome, Museo Nazionale Etrusco di Villa Giulia. Photo: © 2015. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali.

Figure 30.2

Volume of pre-Roman artifacts from central Italy consigned to auction at Bonhams, Christie’s, and Sotheby’s, 1970–2005. Source: Lobay 2007: 134.

Figure 30.3

Published provenance of pre-Roman artifacts from central Italy consigned to auction at Bonhams, Christie’s, and Sotheby’s, 1970–2005. Source: Lobay 2007: 135.

Figure 30.4

Impasto amphora with molded handles, seventh century

BCE

, sold in 2003 (Lot 185 Bonhams). Photo: By permission of Bonhams.

List of Tables

Table 13.1

Sex of Adults from Tombs at Tarquinia (revised from Becker 2005a).

Table 13.2

Numbers of males and females in this sample arranged by periods defined by Cataldi (1993; skeletal evaluations from Becker 2002b).

Table 14.1

Regional Spelling of the Sibilants (/s/ and /

ʃ

/) and the Velar Stop (/k/).

Table 14.2

Etruscan Alphabets.

Table 14.3

Noun and Adjective Suffixes.

Table 14.4

Case Forms of Nouns and Adjectives.

Table 14.5

Etruscan Plurals.

Table 14.6

Etruscan Pronouns.

Table 14.7

Etruscan Consonant System.

Table 14.8

Case Forms of Personal and Family Names.

Notes on Contributors

Hilary Becker is Assistant Professor of Classics at the University of Mississippi. She co-edited with Margarita Gleba the volume Votives, Places and Rituals in Etruscan Religion (2009). She participates in the ongoing excavations of the Area Sacra di S. Omobono in Rome.

Marshall J. Becker is Professor of Anthropology Emeritus at West Chester University. He specializes in studies of human skeletal biology in Italy with a focus on Tarquinia. His forthcoming book (with J. M. Turfa) is The Golden Smile: The Etruscans and the History of Dentistry.

Sinclair Bell is Associate Professor of Art History at Northern Illinois University and a Fellow of the American Academy in Rome, the Deutscher Akademischer Austausch Dienst, and the Howard Foundation. He is the co-editor of five other books, including New Perspectives on Etruria and Early Rome (2009).

Claudio Bizzarri is currently Director of PAAO (Archaeological and Environmental Park-Orvieto). He has taught at universities in Italy (Camerino, Foggia, Macerata, and the University of Arizona Study Abroad Program in Orvieto) as well as in South Carolina. He has been the Kress Foundation Lecturer for the Archaeological Institute of America.

Giovannangelo Camporeale is Professor Emeritus of Etruscology and Italic Antiquities, University of Florence, Chairman of Istituto di Studi Etruschi ed Italici, and member of the Accademia dei Lincei. He is the author of several ground-breaking publications. Over the last three decades he has directed the excavations at Massa Marittima, an Etruscan mining settlement.

Alexandra A. Carpino is Professor of Art History at Northern Arizona University. She is the author of Discs of Splendor: The Relief Mirrors of the Etruscans (2003) and several articles on mirror iconography. She also served as the Editor-in-Chief of Etruscan Studies: Journal of the Etruscan Foundation from 2011 to 2014.

Alexis Q. Castor is Associate Professor of Classics at Franklin & Marshall College. She is preparing a monograph on Greek and Etruscan jewelry in the first millennium BCE. She has written on specific jewelry types, a jewelry cache from Poggio Colla, and the iconography of jewelry in Greece and Etruria.

Letizia Ceccarelli is a postdoctoral researcher at the McDonald Institute for Archaeological Research at the University of Cambridge. She holds a PhD in Archaeology from the University of Cambridge. Her research focuses mainly on architectural terracottas, and Etruscan and Roman material culture production.

Francesco de Angelis is Associate Professor of Art History and Archaeology at Columbia University. His research interests include the reception of Greek mythology in Etruria; the interaction of spaces, images, and social practices; and ancient antiquarianism. Among his most recent publications is a monograph on Etruscan funerary urns.

Richard Daniel De Puma is F. Wendell Miller Distinguished Professor Emeritus in Classical Art and Archaeology at the University of Iowa where he taught for thirty-five years. During his “retirement” he has published three books and many articles on Etruscan or Roman art, excavated in Italy, and lectured in America, Europe and New Zealand.

Margarita Gleba is European Research Council Principal Research Associate at the McDonald Institute for Archaeological Research, University of Cambridge. She is the author of Textile Production in Pre-Roman Italy (2008) and editor of six other books. Her research focuses on all aspects of textiles and textile production in ancient world.

Ann C. Gunter is the Bertha and Max Dressler Professor in the Humanities at Northwestern University. Her recent publications include Greek Art and the Orient (2009) and contributions to A Companion to the Archaeology of the Ancient Near East (2012) and Critical Approaches to Ancient Near Eastern Art (2013).

Ingrid Krauskopf worked for the LIMC and ThesCRA projects at the Heidelberger Akademie der Wissenschaften and was applied professor of Classical Archaeology at the Universities of Mannheim and Heidelberg (retired 2010). She has published extensively on Etruscan and Greek mythology and religion.

Gordon Lobay is an Associate Scholar on the Intellectual Property Issues in Cultural Heritage Project and a Partner at Perrett Laver. He holds a PhD in Archaeology from the University of Cambridge. His research focuses on assessing the strategies and legal instruments governments use to protect cultural property.

Gretchen E. Meyers is Associate Professor of Classics at Franklin & Marshall College. Her research focuses on Etruscan architecture, roofing tiles, and textile production. She has served as Director of Materials at the site of Poggio Colla since 2004. She is preparing a monograph on the social identity of Etruscan women.

Helen Nagy is Professor Emerita of Art History at the University of Puget Sound. Her research emphasizes Etruscan mirrors and votive religion, specifically terracotta votive figurines. Her publications include a book, articles and book chapters on Greek sculpture, Etruscan terracottas, and mirrors. She has lectured widely on these topics.

Skylar Neil recently completed her PhD in Archaeology at the University of Cambridge. She has a BA in Ancient Studies from University of Maryland, Baltimore County and a MA in Classical Archaeology from Tufts University. She is interested in identity construction and the relationship between ethnicity and the built environment.

Philip Perkins is Professor of Archaeology in the Department of Classical Studies, The Open University. Over the past 30 years he has worked on artifacts, field survey, and excavation, including the first-ever Etruscan farm at Podere Tartuchino, bucchero in the British Museum, and excavation and bucchero studies at Poggio Colla.

Lisa C. Pieraccini teaches at the University of California, Berkeley. Her research interests and publications include Etruscan pottery, funerary archaeology, wall painting, and the reception of the Etruscans in the eighteenth and nineteenth centuries. She is a member of the Istituto Nazionale di Studi Etruschi ed Italici in Florence.

Corinna Riva is Senior Lecturer in Mediterranean Archaeology at University College London. Her research interests cover Iron Age Italy and the first millennium BCE in the central Mediterranean. She is co-director of the Upper Esino Valley Survey project (Marche, Italy). She is the author of The Urbanisation of Etruria (2010).

Ingrid D. Rowland is a Professor at the University of Notre Dame School of Architecture in Rome. She writes and lectures on Classical Antiquity, the Renaissance and the Age of the Baroque, and is the author of numerous books, including The Scarith of Scornello: A Tale of Renaissance Forgery (2004).

Jocelyn Penny Small is Professor Emerita in the Department of Art History, Rutgers University. She excavated for three seasons at Poggio Civitate and has focused on Etruscan art for much of her career in numerous articles and three books. Currently she is working on illusionism in Greek and Roman art.

David Soren is Regents’ Professor of Classical Archaeology at the University of Arizona and a Fellow of the American Academy of Rome. His publications include two volumes on the archaeological excavations at Chianciano Terme (Tuscany) and a volume on The Roman Villa and Infant Cemetery of Lugnano in Teverina (Umbria).

Stephan Steingräber has taught at the universities of Munich, Mainz, Tokyo, Padua, and Foggia. He is currently Professor of Etruscology at the University of Roma Tre. His numerous publications deal mainly with the historical topography, urbanism, architecture, and tomb painting of Etruria and Southern Italy.

Simon Stoddart is Reader in Prehistory at the University of Cambridge and a fellow of Magdalene College, Cambridge. He has directed several fieldwork projects in Central Italy (Casentino, Grotte di Castro, Montelabate, Gubbio, and Nepi) and has written/edited books on Etruscan Italy, the Mediterranean Bronze Age, and other topics.

Anthony S. Tuck